Posts Tagged ‘Pistol Annies’

Brandy Clark (with L-R, Miles Aubrey and Vanessa McGowan) performs at City Winery in Boston on January 28, 2018

I had my inaugural City Winery experience on a cool, but surprisingly dry, Sunday evening in late January. The chain venue, which has successful outposts in New York, Chicago, and Nashville and just opened here in Boston in early December, mixes an urban winery with a full-service restaurant and tantalizing live music.

All 310 seats at their One Canal St location, just steps from the Government Center Garage with sweeping views of the Lenny Zakim Bridge, were adorned with the crisp cloth napkins and sparkling silverware of an establishment still in its infancy. The service, from the management to the wait staff, had the execution of a well-oiled machine fully prepared to report for duty.

In a venue of this size, with grouped seating that decreases in price the further away you sit from the stage, you’re all but guaranteed an exceptional viewing and listening experience. The owners pride themselves on the first-rate acoustics and strict policy that you remain quiet and respectful during the show.

I had no idea when selecting seats at a front row table, I would be so close to the stage you could rest your elbow on the edge. Such proximity to the action does lead to “concert neck,” a term coined by country music journalist Juli Thanki to describe the sourness from extended time with your head in an unnatural position. Thanki likes to say pain is totally worth it, and I have to agree, especially when the live entertainment is Brandy Clark and Angaleena Presley.

I always knew that City Winery had the potential to bring blockbuster shows to Boston, but I didn’t know they would strike gold this quickly. This was Clark’s first headlining show in the city, after multiple supporting gigs with Jennifer Nettles, and the first time I’d ever heard of Presley playing around these parts in any solo capacity.

Clark flawlessly executed a tightly focused set segmented thematically by her clever and blunt perspectives on substance abuse and revenge. Her richly drawn character sketches came alive with minimalist accompaniment that accentuated her wit and candor while highlighting her silky twang.

She began unassumingly with the one-two-punch of “Hold My Hand” and “Love Will Go To Hell” before undertaking the risky move of gifting the audience a new song, “Favorite Lie,” which I thoroughly enjoyed. Clark unveiled the origins of “The Day She Got Divorced,” which came to fruition during a phone call between Clark and Shane McAnally concerning a writing session with Mark D. Sanders and, of all people, Ms. Presley herself. The session ended by mid-afternoon when Sanders asked Presley how she planned to spend the remainder of her day. She quipped, “well, I got divorced this morning.”

The tight segments from which Clark split her set began with substance abuse, which lasted a healthy portion of the evening. She began with “Get High” and turned in excellent readings of “Drinkin,’ Smokin,’ Cheatin,’” “Take A Little Pill” and to my surprise, “Hungover.” She sprinkled in “When I Get to Drinkin’” and “You’re Drunk” to round it out.

The revenge portion of the evening was more slight but no more impactful. She followed “Daughter” with “Stripes” and promptly put every no-good man in his place. Clark gave a shoutout to our local wonder kid, Lori McKenna, and played their single-mom anthem “Three Kids No Husband.” “Big Day In A Small Town” and “Girl Next Door” were highlights earlier in the evening.

Clark purposefully surprised with the encore, beginning with a request by a group of female super fans who had followed her to attend each of the four Northeast stops she played in four days (Clark went from Connecticut to New York back to Connecticut and finally, Boston). They wanted to hear her sing a particular song by her idol, Patty Loveless she had obsessively tried learning on a newly-purchased electric guitar while it was climbing the charts. Her efforts in learning “Blame It On Your Heart” were as unsuccessful as her mastery in singing it were successful. Clark finished with another new song, that I instantly loved, entitled “Apologies” and concluded with “Pray to Jesus.”

Angaleena Presley performs at City Winery in Boston on January 28, 2018

Clark’s set was everything one would expect it to be and the accompaniment — Miles Aubrey on Guitar and Vanessa McGowan on Upright Bass — allowed the songs to shine without sacrificing flavor. I found Clark’s song selection, while perfectly executed, to be lacking in diversity, begging for a third course of “what else I can do” songs such as “You Can Come Over,” What’ll Keep Me Out of Heaven” and the one I kept waiting for all night — “Since You’ve Gone to Heaven.” Her ballads are a killer illustration of her artistry and I wish she had expanded her set to show them off.

Presley’s brisk opening set was a whirlwind tour of her four albums. Her candor, never mind her throwback hairstyle and leopard-print top, stole the evening while her southern charm had everyone in the palm of her hand. Her songs, though, spoke for themselves, with the audience in respective stitches with each turn-of-phrase.

She opened with “American Middle Class” and “Dreams Don’t Come True,” a shining example in a long list of songs about the dream of making it in music city. She also admitted to inviting the already-committed Lori McKenna to the show, in advance of playing “Bless Your Heart,” which she called the enthuses of a song McKenna would write.

Presley dedicated “Knocked Up” to her first husband, who she admitted did nothing more than make her a mother, and joked about her upbringing in Beauty, Kentucky. She intertwined her work with Pistol Annies so easily with her solo stuff, I all but forgot “Unhappily Married” and “Lemon Drop” weren’t on her solo releases.

The deeper I lean into the marketing of mainstream country music, The more I’m seeing the blatant manipulation. It’s no secret that Keith Hill’s comment that women are the tomatoes on the salad was offensive and misogynistic, but it was also, unfortunately, spot on. Women, unless they are members of a group, duo or collaboration also featuring men, have been shut out of even marginal airplay. Miranda Lambert is justifiably pissed at her diminishing returns, even as her music veers more and more towards Americana.

Media outlets that cover mainstream country have been celebrating the success of Carly Pearce’s “Every Little Thing” with Rolling Stone Country saying she “defied the odds with risky song” in a recent headline. I’ll admit, it’s against the norm, in this current climate, to release a ballad and have it succeed. The slower a song is the less likely it will fall under what is deemed “radio friendly.” That logic is nothing new.

But what’s baffling is the suppression of the truth. Carly Pearce is succeeding on her own merit about as much as Thomas Rhett. This grand success story? It’s all courtesy of iHeart Media and their “On The Verge” program. “On The Verge” exists to help struggling artists succeed and pretty much guarantees them a #1 hit. It’s the only reason former American Idol runner-up Lauren Alaina scored a chart topper with “The Road Less Traveled” seven years after her debut album bombed into oblivion. There’s absolutely no fairy tale here, no reason to cheer or even get excited. These feats are political manipulations swept under the rug disguised as major success stories.

We’re at a crisis point right now with female artists. Not only are none getting airplay, there really aren’t any in the mainstream sector for radio to embrace. Brandy Clark and Sunny Sweeney would never get airplay for the latest music, in any era, since they’re 40 years or older. Ashton Shepherd didn’t connect, with her heavy twang, so MCA dropped her. Ashely Monroe was told, on her last radio tour, that “On To Something Good,” was dead on arrival. Kacey Musgraves has done next to nothing to endear herself to the mainstream audience beyond wearing crazy outfits and adorning her sets with neon cacti. She will join Harry Styles on tour next year. Will Maren Morris connect? Possibly, as she’s already building a following. But I would think she’d have to prove herself as more than the “80s Mercedes” singer. “I Could Use A Love Song” has done that for me, but it’s only a step in the right direction for her to take as she contemplates her follow-up to Hero.

About the only person, we can count on is Carrie Underwood, who is currently in between albums. Time will tell if her newly minted deal with Capitol Nashville, the label that refused to sign her as a pre-teen back in 1996, will yield further success. I can’t imagine her being blackballed but I never thought Dixie Chicks would fall from grace like that either. In this market, anything is possible.

Is there a solution or silver lining in all of this? I honestly have no idea. I never imagined mainstream country music would ever be in this bad a shape in my life. It took until I got to college to see why Luke Bryan has been able to succeed like he has. He’s tapped into an audience previously ignored by country music, those who love to socialize and party and be high on life. He’s like the male Taylor Swift in that sense. He’s found his audience and he’s running with it all the way to the bank.

This era is the building block for whatever comes next. Has anyone else noticed the glaring oddity of Sam Hunt’s “Body Like A Backroad?” The song has succeeded without a music video, parent album or physical release of any kind. I can’t remember any other massive song that lacked even one of those three elements. These are uncharted waters and they’re reaping big rewards.

Maybe you know where we’re going from here. I know I probably shouldn’t care, and I have spent the majority of this year focused on independent releases, but I do. I can’t help it. It’s in my nature as female artists have always been my favorite, the ones I listen to most frequently. I guess Angaleena Presley and her fellow Pistol Annies said it best:

For her solo debut, Pistol Annie Angaleena Presley took the unconventional approach of self-producing the album along with her Husband Jordan Powell. Released earlier this month on Slate Creek Records, American Middle Class is one of the most authentic creations of self-expression you’ll likely hear all year.

Presley, who hails from Beauty, Kentucky, faced an uphill battle in Nashville where she couldn’t get signed to a major label. Then she landed her big break as ‘Holler Annie’ in the trio also consisting of Miranda Lambert and Ashley Monroe. As a songwriter, her “Fastest Girl In Town” was a top 5 hit for Lambert and Ashton Shepherd took her co-write “Look It Up” into the top 20.

I’ve always been a fan of Presley’s direct approach to songwriting, where she refuses to mince words in effort to make a point. Her Pistol Annies cuts have been some of my favorites from the trio, and while she doesn’t have the flashiest vocal tone, it works in her favor here.

Presley, who co-wrote the whole album, composed five of the album’s songs solo. “Ain’t No Man” is a brilliantly biting ballad with stunning turns of phrase while “All I Ever Wanted” sets a religiously confrontational lyric to an ear catching shuffle beat. The mix of Presley’s strong vocal with her prominent background vocalist renders “Pain Pills” too cluttered, distracting the listener from the tale of Jimmy, who’s drowning his sorrows in booze and narcotics in an effort to cope with his life.

Presley is at her best when her storytelling prowess remains the focus of a song, and American Middle Class abounds with prime examples. Her self-penned “Better off Red” is a masterpiece of perception, a beautiful reflection on one’s place in our world. Equally powerful is Lori McKenna co-write “Grocery Store,” three minutes of observations culled from a checkout line. The deceptively simple track is filled with gorgeous articulations of our mundane everyday lives and comes together as a dazzling work of art almost too good to be true.

“Life of the Party” teams Presley with her hero Matraca Berg for another mouth-watering creation, this time the pedal steel soaked story of a woman facing the light of day after a night spent with another man. The pair is an irresistible songwriting force, with Berg turning in a co-write on par with the myriad of classics she churned out in the 1980s and 1990s, a feat in of itself.

On “Drunk” Presley and co-writer Sara Siskind cover identical ground as Presley’s labelmate Brandy Clark did on “Hungover,” and they turn out equally as delicious a tune about unappreciative men and their selfish ways. “Knocked Up,” co-written with Mark D. Sanders, is the prequel to “Drunk,” a banjo driven number about an unplanned pregnancy and shotgun wedding that plays like a delightful dark comedy.

“Dry Country Blues,” which Presley also co-wrote with Sanders, paints the gritty glory of small town life down to the drunk boys out to get laid and their female counterparts trying not to turn into meth whores. The self-penned title track, which covers the same ground, boarders on preachy and falls dangerously close into a pandering flag-waving anthem, but she makes it work by bringing in Patty Loveless for a harmony vocal that gives the track an added texture that works well with the formidable arrangement.

“Blessing and a Curse,” co-written with Bob DiPiero, is one of the more mainstream-leaning lyrics on American Middle Class with a bluesy arrangement that works beautifully with Presley’s voice. Even the electric guitar, which dominates, isn’t a hinder but rather an assist to the track’s overall splendor. Another such track is “Surrender,” the record’s closing number and a co-write with Luke Laird and Barry Dean. The ballad is as lush and exciting as it is assessable, and Presley turns in an elegant vocal.

American Middle Class is easily a highlight of 2014 with Presley’s fine tuned prospective on the world expressed through sharp songwriting and immaculate choices in instrumentation. Her decision to co-produce with her husband has given the album an added authenticity that gives the record an artists’ touch, an obvious missing link in the majority of mainstream music today. Presley, who’s the real deal, has filled my heart with a joy I haven’t felt in a long, long time.

Midway through Miranda Lambert’s new album Platinum comes a jarring exception to the rule as daring as the twin fiddles that opened Lee Ann Womack’s There’s More Where That Came Fromnine years ago. The one-two punch of a Tom T and Dixie Hall composition coupled with a glorious arrangement by The Time Jumpers has yielding “All That’s Left,” a rare nugget of traditional western swing with Lambert channeling high lonesome Patty Loveless. Besides producing one of the years’ standout recorded moments, “All That’s Left” is a crucial nod to our genre’s heritage, and the fulfillment of the promise Lambert showed while competing on Nashville Star.

Suffice it to say, there’s nothing else on Platinum that equals the brilliance of “All That’s Left,” since Lambert never turns that traditional or naturally twangy again. Instead she opts for a fifteen-slot smorgasbord, mixing country, pop, and rock in an effort to appeal to anyone who may find his or her way to the new music. In lesser hands the record would be an uneven mess, but Lambert is such an expert at crafting albums she can easily pair western swing and arena rock and have it all fit together as smaller parts of a cohesive whole.

The main theme threading through Platinum is one of getting older, whether for purposes of nostalgia, or literally aging. She continues the nostalgia trip she began with fantastic lead single “Automatic” on “Another Sunday In The South” as she recruits Jessi Alexander and fellow Pistol Annie Ashley Monroe to reminisce about the good ‘ol days of 90s country music, among southern signifiers like lazy afternoons and times spent on the front porch. The only worthwhile name check song in recent memory, “Another Sunday” cleverly weaves Restless Heart, Trace Adkins, Pam Tillis, Clint Black, Nitty Gritty Dirt Band and song namesake Shenandoah through the lyrics without pandering or sounding cutesy. I only wish she had referenced Diamond Rio and had producer Frank Liddell pepper the track with more of a 90s throwback production, which would’ve fit slightly better than the soft rockish vibe the track was given.

Lambert actually does recapture the Patty Loveless-like twang on “Old Shit,” Brent Cobb and Neil Mason’s love letter to the appealing nature of antiques. The framing technique of using the grandfather and granddaughter relationship coupled with the organic harmonica laced organic arrangement is charming, and while I usually don’t advocate for swearing in country songs, it actually works in this case and seems more appropriate than any of the cleaner words they could’ve used instead.

The aging side of getting older, which Lambert and company began tackling with “Being Pretty Ain’t Pretty” on Annie Up last year, is far more prevalent a force on Platinum. As has become customary for Lambert, she wrote thumping rocker “Bathroom Sink” solo. The lyric is scathing, detailing scary self-loathing that builds in intensity along with the electric guitars. Lambert’s phrasing is annoying, though; punctuating the rimes so much they begin to sound rudimentary. While true, “Gravity’s a Bitch,” which Lambert co-wrote with Scotty Wray, just doesn’t feel necessary to me. I think being outside the track’s demographic target aids in my assessment, but I do enjoy the decidedly country meets bluesy arrangement.

When the press release for the album said the title track was ‘Taylor Swift pop’ I was admittedly worried, no matter how many times I got down with the dubstep of “I Knew You Were Trouble” or the bubblegum of “22.” Since Max Martin isn’t anywhere near this album, “Platinum” is more “Red” than anything else, and the infamous ‘what doesn’t kill you only makes you blonder’ lyric is catchy as hell. Similarly themed and produced “Girls” is just as good, and like “Gravity’s a Bitch,” it’ll appeal quite nicely to the fairer sex.

The rest of Platinum truly defines the smorgasbord aspects of the album, with some conventional and extremely experimental tracks. Lambert co-wrote “Hard Staying Sober” with Natalie Hemby and Luke Laird and it ranks among her finest moments, with the decidedly country production and fabulously honest lyric about a woman who’s no good when her man isn’t present. “Holding On To You,” the closet Lambert comes to crooning a love song, is sonically reminiscent of Vince Gill’s 90s sound but with touches that makes it all her own. While good it’s a little too bland, as is “Babies Making Babies,” which boats a strong opening verse but eventually comes off less clever than it should’ve and not surprising enough for me.

Ever since Revolution, production on Lambert’s albums has to be taken with a grain of salt, which is unfortunately still the case here. I’m betting, more than anything since Brandy Clark and Lambert co-wrote it together with Heather Little, that “Too Rings Shy” has a strong lyric underneath the unlistenable production that found Lambert asking her production team to go out and lyrically record circus noises. It’s a shame they couldn’t make this work, since they pulled it off with Randy Scruggs reading the Oklahoma Farm Report in the background of “Easy Living” on Four The Record. There’s just no excuse why the track had to be mixed this intrusively.

Polarizing more than anything else is Lambert’s cover of Audra Mae’s “Little Red Wagon,” which I only understood after listening to Mae’s original version. Given that it’s a duet with Little Big Town, I know most everyone expected more from “Smokin’ and Drinkin,’ and I understand why (the approach isn’t traditional), but I really like the lyric and production, making the overall vibe work really well for me. The same is true about “Something Bad,” which isn’t a great song, but works because of the beat, and interplay between Lambert and Carrie Underwood. The two, even on a marginalized number like this one by Chris DeStefano, Brett James, and Priscilla Renea, sound extremely good together.

Nicolle Galyon and Jimmy Robbins teamed up with Hemby to write the album’s most important track, a love letter Lambert sings to Priscilla Presley. While the concept is questionable on paper, the results are a revelation and give Lambert a chance to directly address what she’s been going through since her husband’s career skyrocketed on The Voice. At a time when most artists of Lambert’s caliber are shying away from singing what they’re going through, Lambert is attacking her rise in celebrity head on with a clever lyric, interesting beat, and an all around engaging execution that makes “Priscilla” this album’s “Mama’s Broken Heart.”

Even without the added punch of co-writes with her fellow Nashville Star contestant Travis Howard or the inclusion of a bunch of artistic covers from the pens of Gillan Welch, Allison Moorer, Carline Carter, and others – Platinum ranks high in Lambert’s catalog. She’s gotten more introspective as she’s aged but instead of coasting on past success or suppressing her voice in favor of fitting in or pleasing people, she remains as sharp as ever tackling topics her closest contemporaries wouldn’t even touch. I didn’t care for this project on first listen, but now that I completely understand where she’s coming from, I’m fully on board. All that’s left is my desire she go even more country in her sound, butPlatinum wouldn’t be a Miranda Lambert record without the added touch of Rock & Roll.

It was just a few months ago, I was in panic mode. How the heck am I supposed to compile and rank a list of favorite singles when the majority of country music, especially mainstream terrestrial radio country, left me numb? Hell, I don’t even have a can’t-live-without favorite single from 2013. I don’t know when the tide turned, but I was once again able to rank a list I’m very happy with. Here’s part I, 20-11:

20. That Girl – Jennifer Nettles

Back in “Stay” mode, Nettles is once again the other woman. Sequels often pale in comparison to the original, as “That Girl” does, but Nettles scores points for writing the first answer song to Dolly Parton’s classic “Jolene” and pulling it off with ease.

19. Someone, Somewhere Tonight – Kellie Pickler

Treading hallowed ground, Kellie Pickler tackles one of Pam Tillis’ greatest vocal performances ever by covering one of the best songs she’s ever recorded. Finally stripped of her caricature image thanks to Dancing With The Stars, Picker plays it smart by making “Someone Somewhere Tonight” her own. While it pails in comparison to Tillis’ brilliant rendition, Pickler more than makes up for it with a mature performance that marks her growth as a singer and a person.

18. Your Side of the Bed – Little Big Town

So what if the third single from Tornado is a rip-off of a Gretchen Wilson album cut? Husband-and-wife Karen Fairchild and Jimi Westbrook bring stunning conviction to this tale of a relationship breaking down from both sides of a king sized bed.

17. Don’t Let Me Be Lonely – The Band Perry

This must be a trend – when The Band Perry’s debut album came out, they placed one single apiece on both my best and worst lists. They’ve done the same again. Their best? This little ode to spreading your wings when you’re young. It’s a bit too loud towards the middle, but it works for me nonetheless.

16. Enough – Joey + Rory

Originally written by Rory for a Kraft commercial, “Enough” is a sweet tale about family values and having “just enough to get by on.” There’s nothing revelatory about its sentiment (especially after “That’s Important To Me”) but it exudes charm nonetheless.

15. Hush, Hush – Pistol Annies

How many of us have been there? You’re at the dreaded family reunion and just as you expected, no one is speaking to anyone. Brother is just out of rehab, daddy’s obsessed with the end of the world, and mom is sneaking vodka just to cope with it all. “Hush, Hush” is family dysfunction at it’s best with some vivid characters to boot.

14. Travelin’ Alone – Jason Isbell

The best truckin’ song of the year is Isbell’s ode to loneliness on the road. He just wants someone to share it all with. Is that really too much to ask?

13. Blowin’ Smoke – Kacey Musgraves

The shortsighted working poor come roaring back to life courtesy of Musgraves and her team of diner waitresses who are dreaming of a better life. Kelly may’ve gotten out, and hitched a ride to Vegas, but the others will forever be blowing smoke, and not just what comes from their cigarettes. It’s mystifying how fully formed Musgraves’ perspective on life is for a twenty-four year old.

12. Mama’s Broken Heart – Miranda Lambert

Brandy Clark and Kacey Musgraves’ greatest success in 2013 came from writing this biting look at breakups from the standpoint of a generational gap between a mother and daughter. She’s cutting her bangs, screaming his name, and contemplating revenge while mom, who raised her better, wants her to “Cross [her] legs and dot [her] eyes and never let ‘em see [her] cry.” Lambert has never played this type of conflict so well.

11. Like Jesus Does – Eric Church

Another example of Church proving he’s an artist, not just a puppet of the country music industry. I will always reward those who show some effort and Church pulls out the effort in spades here. One of his finest singles.

One of the most satisfying surprises of 2011 was Miranda Lambert’s come-from-nowhere trio Pistol Annies. Their airtight harmonies and brutally honest lyrics took a unique spin on mainstream country music. Hell On Heels was an incredible album – ten expertly crafted slices of the hillbilly lifestyle.

The time they’ve spent together over the past two years has made Lambert, Angaleena Presley, and Ashley Monroe more of a cohesive unit than three solo singers thrown together in collaboration. And the songs cover a wider array of topics than no good men, thus making Annie Up far more well rounded than its predecessor, a fact that couldn’t make me happier.

Like Hell On Heels they wrote the entire record themselves, and as three of the best singer-songwriters in the business, they deliver the goods. There’s no country shuffle of “Bad Example” or seething angst of “Takin’ Pills,” but they make up for it with a surprising amount of subtly and grace that elevates the band to the next dimension.

The quieter moments are the album’s strongest, and Monroe takes the lead on two that take equally compelling but albeit vastly different looks at relationships. “Dear Sobriety” (easily the best track here) is a stunning look at the limits of willpower in face of genetic addiction while “I Hope you’re the End of My Story” finds the band in perfect harmony, hoping a current love is meant to last for life. They continue in this mode, taking on the beauty industry with pitch-perfect candor on “Being Pretty Ain’t Pretty,” while “Blues, You’re A Buzz Kill” finds Monroe doing all she can (with no avail) to ward off emotional pain.

“Damn Thing,” their somewhat modernized approach to Ricky Skaggs’ classic 80s country/bluegrass fusion is the opposite of “Blues,” finding the Annies brushing off the things they can’t worry about. They’re also effective on “Don’t Talk About Him, Tina,” a mid-tempo honky-tonker about a woman who needs to let go of an ex once and for all. I also liked “Loved, By A Workin’ Man,” a Presley solo composition where she spills her guts about her kind of guy, and the slower burner “I Feel A Sin Comin’ On” is the perfect showcase for how well they play off each other.

This is where my praise hits the proverbial brick wall. Pure and simple – Annie Up showcases everything that’s hazardous about mainstream country music. The more I listen the more pissed off I get at the producers (Frank Liddell, Chuck Ainley, Glen Wolf) and their dim-witted production values.

I totally understand the need to appeal to a younger audience (i.e. where the money is) that is eating up the amped up rock of Jason Aldean and company, but to BLATANTLY erase any hint of fiddle and steel guitar is simply unforgiveable. How the hell do you not drench a number like “Dear Sobriety” in mournful steel? Those idiotic chimes don’t cut it at all. “Loved, By A Workin’ Man” practically begs for some fiddle in place of that annoying electric guitar heard throughout. And I quite enjoyed “I Feel A Sin Comin’ On” until that wall of sound comes in at the end engulfing the track in nothing more than noise.

When a band is going to this great a length to actually be country (you can hear it in the vocal performances and in the only use of audible steel on “Being Pretty Ain’t Pretty”) than they should be rewarded with the hallmark instruments of country music backing them up. I know the times have changed but this is inexcusable. Have we actually “evolved” to the point where the elements that differentiate country from other genres of music doesn’t matter let alone need to be present to call a record country? (I know, I know – this has been happening forever. But Annie Up is a real country record or at least as close to one lacking in down home instrumentation can be).

All involved have royally screwed up. And sadly, each and every one knows better. The songs, vocals, and originality are here in spades. It’s a “damn shame” the production didn’t follow suit.

On Cheers, It’s Christmas, his foray into holiday music, Blake Shelton is offering up fourteen tracks that mix traditional fare with newly-penned tracks and collaborations with everyone from Kelly Clarkson to Reba McEntire. And like Red River Blue, Scott Hendricks produces the set along with Brett Rowan.

The traditional songs are pretty standard, and Shelton turns in gorgeous readings of “White Christmas,” “Let It Snow, Let It Snow, Let It Snow,” “The Christmas Song,” and “I’ll Be Home For Christmas.” Each are framed in a lush string heavy melody that doesn’t bring anything new to the tracks, but keeps them simple and classy. Shelton supercharges his rendition of “Winter Wonderland” with a heavy electric guitar, and instead of working against the song, it helps to showcase the much-recorded song in a new light.

The heart of Cheers, It’s Christmas, though, are the duets. “Jingle Bell Rock,” complete with loud guitars and crashing horns, features Miranda Lambert on backing vocals and their voices blend together nicely. Unfortunately the cheesy “Blue Christmas,” which features Pistol Annies pointlessly doo-wooping throughout, is a mess. The production is too loud and all meaning feels stripped from the song.

Shelton keeps the proceedings nice and simple on “Silver Bells,” one of my favorite Christmas songs. He’s joined by Xenia, a contestant from his team on season 1 of The Voice. Surprisingly, their voices blend well despite having two completely different vocal styles. The same is true for the holiday re-working of “Home” which features the tune’s original singer (and season 3 Voice mentor) Michael Bublé, although it’s kind of odd to hear the tune with the new, slightly awkward lyrics.

Shelton turns surprisingly traditional on “Oklahoma Christmas,” a duet with fellow Okie McEntire. While very good the exaggerated twang and somewhat predictable lyrics (written by Rob Byus, Jenee Fleenor, and Trent Willmon) put a slight damper on the proceedings. He revives Keith Whitley’s “There’s A New Kid In Town,” easily the album’s strongest track lyrically, as a duet with Clarkson. A astonishingly understated and tasteful rendition, their voices gel together wonderfully.

I wasn’t sure what to expect when I heard Shelton co-wrote a duet with his mom Dorothy Shackleford, but it turned out really well despite her somewhat shaky vocal. “Time For Me To Come,” in which a mother calls up his son to come home for the holidays, has a lot of old-fashioned charm and works well coming from someone who’s so busy with both his music and television careers. Shelton also co-wrote “Santa’s Got A Choo Choo Train,” a somewhat bluegrass-y number that’s a bit cheesy, nicely understated, and sounds like something Brad Paisley would’ve done about eight years ago. Shelton’s third co-write “The Very Best Time of Year” is the album’s weakest track, spilling out a mess of yuletide clichés.

Cheers, It’s Christmas is an uneven effort at best, with Shelton’s classy and rowdy sides fighting for dominance. But it’s also his best album in years, showcasing a bonafide superstar who isn’t afraid to keep it country when it counts the most. Since he’s so big right now, I have a hard time feeling the intimacy he strives for on the majority of the tracks, but he’s never sounded better and exuded so much personal confidence.

Such as they are, here’s the CMA nominees list for 2012 with my comments and Will Win / Should Win picks:

Entertainer of the Year

Jason AldeanKenny ChesneyBrad PaisleyBlake SheltonTaylor Swift

The usual solid, yet unspectacular group. The lack of Carrie Underwood will have all her fans fuming as usual and everyone else will bark at the inclusion of Swift, a two time winner and the incumbent, for her increasing lack of country credibility.

Will Win: Taylor Swift – I’m betting on the safest choice this time around. She’s the most likely to pull off a win, her third. Chesney may’ve had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.

Should Win: Luke Bryan, but he wasn’t nominated. As an all around entertainer, he’s so much better than Aldean, the only one who stands to keep the award out of Swift’s hands.

Kelly Clarkson, really? I adore her but she hasn’t fully embraced a career in country music…yet. But she did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally justified. McBride is a snoozer scoring her 14 consecutive nomination and 15th overall as her career takes a downward spiral.

See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.

Will Win: Lambert – she’s at the top of the heap and the countriest of the big 3

Should Win: While I’d love to see this award go to Clarkson, she’s a pop singer who’s done a bang up job covering country songs in concert. That’s it. I’ll say Lambert because of her intuition with Pistol Annies

Male Vocalist of the Year

Jason AldeanLuke BryanEric ChurchBlake SheltonKeith Urban

Another somewhat standard list until you take into account Urban is here in place of the red hot Dierks Bentley. His exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should’ve joined Brad Paisley and been made to sit this one out this year.

Will Win: Shelton – there’s seemingly no stopping him right now despite one mediocre single after another.

Should Win: Bryan. While I love Church, Bryan is the most exciting male vocalist to come along in years and a personal favorite of mine.

Vocal Group of the Year

The Band PerryEli Young BandLady AntebellumLittle Big TownZac Brown Band

On chart hits alone, all five deserve to be here this time around. It’s nice to see the exclusion of Rascal Flatts as their already bland material has only gotten worse in recent years.

Will Win: Lady Antebellum – is there any reason to bet against them?

Should Win: Little Big Town – Their latest single “Pontoon” isn’t just their biggest single, but its country music’s song of the summer. Zac Brown Band has also yet to score a deserving win, but LBT has been waiting for their time in the spotlight for far too long.

Vocal Duo of the Year

Big & RichLove and TheftSugarlandThe Civil WarsThompson Square

Another interesting list. Sugarland shot themselves in the foot with Incredible Machine and thus are the least likely to repeat in this category. Love and Theft just scored their first #1, and Thompson Square have the ACM momentum.

Will Win: Thompson Square – they’ve yet to repeat the monster success of “Are You Gonna Kiss Me or Not” in their last two tries, but they’re far from one hit wonders. Shawna may not be the most flashy female vocalist, but she’s the most akin to the genre’s traditions.

Should Win: The Civil Wars – there isn’t a more ear catching duo in country music right now

New Artist of the Year

Lee BriceBrantley GilbertHunter HayesLove and TheftThompson Square

If we ever needed proof country music is in a rut, this is it. No one on this list has proven truly outstanding in anything they’ve done to date, and none have displayed the integrity to correctly push the genre forward.

Will Win: Brice, Gilbert, and Hayes are so even I can’t predict between the three. That may give Thompson Square the edge.

Should Win: Thompson Square – of this group, they’re the best of the bunch

The significance of this category is huge. For the first time since his MCA debut When I Call Your Name, Vince Gill isn’t nominated. Guitar Slinger was one of the best country records of 2011 and deserved to be on this list. Also missing are George Strait’s Here For A Good Time, despite the fact his last two albums won, and Pistol Annies for their excellent Hell on Heels.

But rest assured, we get Own The Night. The category wouldn’t be complete without it now would it?

Will Win: Own The Night – if its good enough to get a Best Country Album Grammy, than it can’t loose here, right?!

Should Win: Chief – The Church album is the best of this list and the most original commercial country album of 2011. Four The Record was good, but nowhere near the caliber of Chief.

Song of the Year (Award goes to songwriters)

“Even if It Breaks Your Heart” – written by Will Hoge and Eric Paslay“God Gave Me You” – written by Dave Barnes“Home” – written by Dierks Bentley and Jon Randall Stewart“Over You” – written by Miranda Lambert and Blake Shelton“Springsteen” – written by Eric Church, Jeff Hyde and Ryan Tyndell

Another boring list. The exclusion of “So You Don’t Have To Love Me Anymore” is a travesty, and George Strait should’ve been honored for his songwriting contributions to Here For A Good Time. But the inclusion of “Springsteen” is all that matters to me.

Will Win: “Over You” – I can already see Lambert and Shelton accepting this together and I’m very happy about it

Should Win: “Springsteen” – its the best song of this bunch hands down

Aren’t the nominations for Aldean’s awful rap over? Shelton, meanwhile, has been nominated for one of his grossest productionsever. Bentley’s patriotic anthem is wonderful, and Church’s ode is his best single yet.

Will Win: I’m leading towards, “Home” but could also see “Springsteen” sneak in a win. But as far as singles of the year go, “Pontoon” is about as big as it gets

Should Win: “Pontoon” – sure its frivolous, but unlike the Aldean hit its harmless fun, and LBT deserve anything the CMA decide to throw their way

The most thought out and interesting list, by a wide margin. The Jackson duet is his most exciting song from Thirty Miles West, the Swift duet is the most compelling single of her career, and the Nelson song is an hilarious classic in the making. The reworking of Richie’s classic suits him and Rucker well while the only clunker is the awful excuse for Chesney and McGraw to sing together on stage this past summer.

Will Win: “Feel Like A Rockstar” – the CMA can’t resist when two genre superstars team up

Should Win: “Safe and Sound” – putting Swift aside, its the most compelling track and another reason why The Civil Wars are currently the genre’s best duo.

Of these, Church has the best video, followed by LBT. What’s so remarkable about the whole “Pontoon” thing is LBT haven’t caved into any pressure to act like 20 year olds. They’re being completely themselves all the while making millions.

Of the others, The Keith video is stupid fun, Chesney is all sex and no substance, and Lambert is as boring and depressing as the song.

Will Win: “Red Solo Cup” – as stupid as the song, but captures it perfectly

Should Win: “Pontoon” – lets have fun with this one, and this video is pure fun in the sun. But if Church only ones award, it’ll likely be this one

That much is evident from this second leg of her On Fire tour, which rolled into Boston Friday night (July 27) during a week that saw Lambert perform on Good Morning America and co-host The View.

I’ve been following Lambert’s career for nine years now, ever since she first stepped on the Nashville Star stage in 2003. Her “Greyhound Bound For Nowhere” original song night performance solidified my adoration and I knew, if given the chance, she could be the top female singer in country music.

It was a slow climb, but she made it, even when I had doubts country radio would ever stop giving her a cold shoulder. And judging by the enthusiastic crowd at the show, it seems I’m not the only one to ride on the Miranda train.

The show kicked off with Loretta Lynn speaking via tape, telling the crowd her stance that country music will always be okay as long as Lambert’s around, followed by a fabulous montage of strong women set to Beyonce’s “Run The World (Girls).”

Lambert then came out with guns blazing on “Fastest Girl In Town,” which set the tone for the night. Rockers of all shapes and sizes followed as she rolled through “Kerosene” and her charging cover of John Prine’s “That’s The Way The World Goes ‘Round.” She then slowed down long enough to perfectly execute “Over You,” which came sans any backstory before revving up again on “Heart Like Mine.”

A fascination for Lady Gaga drove her first interaction with the crowd, and led into a countryfied cover of Gaga’s hit “You and I.” Lambert did an incredible job with the song, as country as any hit last year, and she had enough spunk in her delivery to pull it off.

Probably the most palpable display of Lambert’s angst came with “Baggage Claim,” which she sang in tribute to the end of a long work week. The song came complete with rolling flight tickers on the video wall and roused the audience, who dug into the Beyonce-like groove of the tune.

One of the night’s more bizarre moments came when launching into her all but forgotten “Dead Flowers,” a treat for me (I love the song) but a let down for the audience as the artsy metaphors never really connected with mainstream country fans. Choosing to include it within the set further exemplifies Lambert’s rebel spirit, as most singers would never again touch a single that failed to reach the top 30. But the energy of the song works really well, even if the lyrical content doesn’t quite connect.

Lambert took her first of two breaks half way through the set as stage handlers brought three microphone stands (complete with oval shaped named tags and retro microphones) on the stage. The audience was then greeted to a short video piece on the Pistol Annies, before the trio emerged with “Hell On Heels.”

I was surprised to see the crowd go bonkers for them as their lack of airplay and indie spirit should’ve been a deterrent. The short set was followed by the fabulous “Bad Example” and a cover of Lynn’s “Fist City.” The Lynn cover was obvious, but proved a let down as Angaleena Presley’s thin vocals kept the song from translating to this overtly mainstream crowd. But they came back strong, finishing with the fan favorite, “Takin’ Pills.”

There’s a sense with the Pistol Annies that even fourteen months after their formal debut, they still have to explain themselves and defend their coupling. The gimmicky “Holler, Lone Star, and Hippie Annie” schtick is getting a little old. If they just let the music lead the way, they’d be fine.

But with that aside, they put on a great show. Given their backgrounds and passion for traditional country music, they almost beg to play club shows of their own – something I’d die to see. Presley didn’t shine as bright on the big stage with her voice, but she made up for it with an adorable country charm and square dancing bits that had Lambert declaring “now that’s country!” all the while warming her way into my heart. Ashley Monroe is fabulous in much the same way, but as an adept vocal stylist, she shines brightest for the three of them.

The Pistol Annies set was followed by a detour into straight-up rock and roll, which didn’t sound much different from Lambert’s own material. That may prove a problem for those who want Lambert to stay in her “country lane,” but the energy works well backed with her twangy vocals, and she benefits from avoiding the country hick status made famous by her male counterparts.

That energy drives her cover of Kacey Musgraves’ “Mama’s Broken Heart,” a song begging for release as a single. Lambert followed up with “Famous In A Small Town,” “White Liar,” and “Gunpowder and Lead.”

Lambert referenced her stint co-hosting The View one just one occasion, talking about being in New York City among all the models (and View guest Jessica Alba). This short diversion about diversity transitioned nicely into her song “All Kinds of Kinds.”

The emotional highlight of the evening came through “The House That Built Me,” her signature song. She backed it with personal family photos and images from her childhood that brought new meaning to the lyrics. But it also proved how adapt she is at taking a complete 360 and turning out a vulnerable ballad. Like her fabulous ACM performance from 2009, she just stood there, sang, and delivered.

Lambert closed the set with one encore song, a back-to-my-roots cover of Patsy Cline’s “Crazy.” Backed solely by an acoustic guitar, she turned in the night’s standout vocal and brought a perfect amount of class to the song. But it also felt a bit contrived. Of all the Patsy Cline songs, you cover “Crazy?” Talk about going with the only song of Cline’s the audience would know. It’s too bad as she should’ve shown imagination by going with “Faded Love” or “Leavin’ On Your Mind.”

Of course it doesn’t excuse the fact covering Cline is a crucifixion to the trailblazers of the genre, following the recent death of Kitty Wells. When the woman who made it possible for you to even stand on the Pavilion stage and call yourself a country singer dies, you pay respects with 1) a mention of her name and 2) a performance of “It Wasn’t God Who Made Honky Tonk Angels.”

But through and through, Lambert does whatever she pleases, no matter who it may piss off. She’s built her career on bucking convention and it doesn’t appear to be slowing down anytime soon. If this performance is any indication, she’ll be a female country leader for many years to come.

The same may also be true for her opening act J.T. Hodges (country’s version of Matt Nathanson), who warmed up the crowd with a gumption rarely seen from newer performers. During his set he rolled through many songs from his self-titled debut, due out Aug 21, including highlights “Leaving Me Later” and “Green Eyes Red Sunglasses.”

He threw in a cover of Garth Brooks’ “Rodeo” for good measure and got the crowd pumping on his infectious debut single “Hunt You Down,” my second favorite single of last year. And even though most of his set was loud, he kept it memorable solely with his attitude.

Hodges knew his mission to wake up the crowd and stopped at nothing to do so. Not only did he mention his admiration for our “title town” (sports), he also ran through the audience to make sure he got everyone’s attention. He won me over as a fan, I can tell you that.

Who says real country music is dead? Putting aside the commercial successes that forgot about quality, here is my take for music that mattered in 2011. These albums may not have sold a heck of a lot or even garnered the recognition they warranted, but they achived the mark of great music – the songs came first.

Led by the top ten “From A Table Away,” Concrete found Sweeney modifying her sound slightly in order to complete with what’s current on country radio. Of course, her version of slightly is different than most as she’s crafted an outstanding traditional country album worthy of her talents. There are too many highlights here to pick a favorite but the honky-tonkin’ “Drink Myself Single” and the revengeful “Amy” are among the years best songs.

Much has been made lately about the lack of solo female artists charting top 30 singles. An alarm was sounded bringing attention to just how few genuine female superstars are working in the genre today. But instead of focusing on the lack of female artists charting big singles, we should be talking about and putting the spotlight on those female artists (solo or not) who are making music that matters whether they receive airplay or are left in the dust.

One of those artists commanding attention is Miranda Lambert’s new trio The Pistol Annies. Their debut album Hell on Heels is without a doubt one of the best country albums of 2011 because the attention to detail in the lyrical content rivals anything being released on a major label in Nashville today. Throughout the ten-song project, intricate phrases abound elevating simple stories into pieces of art. Hell On Heels is a listening experience like none other you’ll have all year.

They debuted with the title track earlier this year, an introduction as good as any. I have a little trouble with its three artist structure, but the verse sung solo by Ashley Monroe always brings fourth a smile. She’s just delightful and one of the best-kept secrets in Nashville today. But the rest of the album is as good but much better than that song.

Not since Mary Chapin Carpenter released “House of Cards” as the third single from Stones in the Road in 1995, has anyone spoken so honestly and introspectively about life behind closed doors. They’ve stood up and given voice to the women who can’t take it anymore from the men who haven’t got a clue.

No song exemplifies this better than “Housewives Prayer,” which employs a simple yet dark lyric to convey the pain of quiet desperation. One of the best songs of the year, it’s a cautionary tale from a woman fed up with the status of her life – she’s been thinking about going off the deep end because she’s “burning up with all the words she ain’t been saying,” and at her boiling point, she washes pills down with beer and contemplates setting her house on fire.

Inspired by “Holler Annie” Angaleena Presley’s divorce, “Prayer” proves the point that you don’t need much to pack a wallop. Presley’s lead vocal acts as a portal for the audience to feel her pain and the moody musical accompaniment, complete with haunting steel guitar front and center, adds another dimension to her sadness.

“Lemon Drop,” another down on your life song, uses a clever metaphor to sell its central message – you have to endure the bad to get to the good. Using examples of curtains purchased on credit and owning a TV that will take ten years to pay off, it serves as a reminder to anyone going through tough times to remember “they’ll be better days ahead.”

The light mix of acoustic guitars and gentle procession coupled with the blending of their voices, gives the song a rather sweet quality, which contrasts with the placement of a lemon in the title, but suggests the optimism the protagonist is holding onto. You come away feeling her situation isn’t a reflection on her because no matter how dire the circumstances may be, she isn’t letting them define her.

When listening to the song, I had to actually stop and think what “life is like a lemon drop” meant. When was the last time that happened? It’s so rewarding not to be able to take lyrics at face value, where you already know what the song’s about because the lyrics are so predictable. This is one of those times I actually like having to work at fully understanding my country music.

“Beige,” another track that made me think, is by and large my favorite song on the whole album. The movie-like nature of the story won me over first, but it was the presentation of that story that blew me away. The song finds a woman on her wedding day, with child, “marrying some boy” in a wrinkled shirt. She’s praying no one will notice her weight gain since a “bride shouldn’t be 4 months and 3 weeks.” She’s wearing beige because “everyone in this place knows I didn’t wait.” The situation is unfortunate and the song contains some of my favorite lines on the whole album, from her being daddy’s pride and joy to no one “having a ball at the reception hall.”

“Hippie Annie” Monroe takes the lead and displays how much she’s grown as a vocalist since Satisfied, her solo debut from 2006. But the song suffers only slightly from a lack of polish. There is a few times where Monroe could’ve enunciated more clearly. But other than that, the track dabbles with perfection. The drumbeat and steel guitar add a layer to the song conveying the sadness felt by everyone on what should’ve been a happy occasion.

But with all the heaviness of the ballads, the Annies add a few lighter moments to lesson the load. “Bad Example” is a pure country shuffle that recalls something from the 1920s, “Takin’ Pills” recalls the depression-era production T-Bone Burnett used on his Robert Plant and Alison Krauss collaboration Raising Sand, and “Family Feud” is pure Americana bliss. But being lighter doesn’t cancel out their substantive qualities. “Feud” is takes on a serious topic that often tears families apart, while “Pills” uses drugs, alcohol, and cigarettes as coping mechanisms. But for all their seriousness, they are the best examples of dark humor I’ve heard in country songs since I can remember.

Another light moment, “The Hunter’s Wife,” reminds me a lot of Rodney Crowell’s “She’s Crazy For Leavin’” in terms of production. I love the wordiness of the chorus and the fact that this man doesn’t even realize he’s chosen hunting (and fishing) over his wife. The way she complains about the meals she’s sick of eating in the second verse is so instantly relatable. It’s hard to find a woman who isn’t tired of the redundant behaviors of their husband or boyfriend. If this were a Brad Paisley song, she’d know exactly what to do – give him an ultimatum and if she doesn’t care for his answer, get the heck out. Overall, it’s one of the coolest songs on the whole album and another highlight among highlights.

“Lone Star Annie” Lambert takes the lead on both “Trailer for Rent” and “Boys From The South.” Both represent classic Lambert, on “Rent” she’s selling the trailer she shared with her now ex and it bares the marks of where she grew tired of his abusive behavior. I only wish “Rent” hadn’t gone into expletive territory. It didn’t need a swear word to emphasize anything, but it is indicative of how most people talk and adds an authenticity to the song in that respect. I also like the easygoing nature of the production track.

“Boys From The South” on the other hand, is the lone oddball out on the project. It’s so straightforward and has so much commercial potential; it would’ve been better on Lambert’s upcoming Four The Record or even Revolution. But if any song on this album has the ability to break through at radio and give Hell On Heels an extra push, it’s this one. These are the types of songs Lambert does exceptionally well and she excels on that here.

In the end, Hell on Heels is everything a country album should be: original in its angles on well-worn themes and a challenge to the listener to think and pay attention to what’s being said. This brand of country isn’t going to appeal to everyone, but there’s an audience out there starving for this kind of music. I know because I’m a vocal member of that crowd, retaliating against the usual fare coming out of mainstream Nashville. Thank goodness for artists like Pistol Annies who transcend trend and make music that will matter as much thirty years from now as it does today.